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Possibly the most cinematic show on television at the moment is the gripping, sadistic, somewhat stately and immeasurably dark psychological drama Hannibal. It’s not just the creepy precision of Danish actor Mads Mikkelsen (from the Pusher films) as refined serial killer Hannibal Lecter, or the all-encompassing visual genius of producer Bryan Fuller, but also the remarkable breadth of the score, which really takes this series to some truly dark places.

The scraping metal, the droning strings, the tinges of bleak electronics and explosions in grandeur that are alternatively elegantly creepy and searingly visceral, come from Brian Reitzell, the former drummer of Redd Kross, who’s toured with Air and scored The Bling Ring, 30 Days Of Night and Friday Night Lights. Both elegant and abrasive, Hannibal is a score that highlights the classical sadism, the dual streams of both the character Hannibal himself and the series as a whole, which operates as a cannibalism cooking show garnished with a surreal, psychological thriller. The score for Seasons 1 and 2 has just been released on iTunes via Lakeshore Records, with CDs to come in September.

Last month Reitzell released his debut solo album on Norwegian label Smalltown Supersound . Auto Music began as experiments in sound creation for film work, though quickly grew into expansive electro psychedelic suites involving guests such as Kevin Shields (My Bloody Valentine) and Jim James (My Morning Jacket). If that’s not enough, Reitzell’s video game score for Watch Dogs has just been released on Invada, Geoff Barrow’s (Portishead) label, and exhibits Carpenter-esque synth pulses and typically cross-genre explorations. Whew. Busy guy.

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When Brian Jones Presents the Pipes of Pan at Joujouka was released in 1968, the Rolling Stones guitarist had been dead a year. The recording of the raita (Moroccan pipe) and percussion music is remarkable, centuries old, with folklore suggesting that this healing music dates back to the 15th century. Many of the Beats had been visiting the village in the riff mountains in Morocco from the 50’s – Burroughs described them as a “4,000 year old rock band,” and subsequently Ornette Coleman recorded the masters for his 1975 album Dancing in Your Head. In recent years a split has developed and there are now two groups. Bachir El Attar’s helmed “jajouka” group have collaborated with Bill Laswell and Talvin Singh, whilst the Ahmed El Attar helmed “joujouka” who have worked with Jane’s Addiction hold an annual festival in joujouka in June. Which is where I found myself a few weeks ago, visiting the remote village, staying with Mohammed El Attar and his family, eating communally with the musicians and about 40 other pilgrims from the UK, Japan, Italy and Australia, but most of all slowing down and experiencing some of the most remarkable ancient trance music over the course of three days. They played when they felt like it; often impromptu jams fueled by kif, with flutes, chanting and percussion, but each night they’d bring out the raita and enact their fertility festival with Boujeloud, a mischievous dancer in goatskins whacking everyone – mostly the band with branches. You need to experience this remarkable festival.